Brancusi

Les préoccupations de Rodin, Brancusi et Hesse concernant le renouvellement de l’œuvre par le biais de la répétition, apparaissent comme des tentatives de conciliation de l’immobilité et du mouvement. Ce texte montre que la forme répétée brise l’unité de la sculpture, l’obligeant à se tenir dans un état transitoire pour sans cesse reformuler l’écart entre saisie et rythme.

This article has been published in a revised form in Tempo [http://doi.org/10.1017/S0040298211000350]. This version is free to view and download for private research and study only. Not for re-distribution, re-sale or use in derivative works. © 2011 Cambridge University Press.

This article focuses on an yet unknown chapter of the life and work of the Romanian painter Costin Petrescu (1872–1954); based on unpublished documents from Romanian and American archives, very little, or not at all researched by specialists, it analyses the time spent by the Romanian painter in the U.S. He traveled to New York (November 1919 – March 1920), on the official mission of supervising the printing of the new Romanian paper currency, designed by himself, at the American Bank Note Company. After the 1918 Union, monetary unification became a priority of the new Romanian Government. Thus, the article casts a new light on the importance of this process, with its political implications and symbolic intricacies. During his stay in New York, Costin Petrescu met a number of outstanding personalities of the Romanian diaspora of the time, such as the professor, writer and journalist Leon Feraru, as well as remarkable members of the New York intellectual and art scene, among which the poet Edwin Markham and the writer and art connoisseur Jeanne Robert Foster, whose portraits he painted, or William Henry Fox, then Director of the Brooklyn Museum, with whom he planned an ample exhibition of Romanian art in the U.S. The article offers unpublished data and analysis useful for a better understanding of the modern Romanian identity, of Romania’s image in the U.S., as well as of the immediate aftermath of the 1918 Union.

This essay is on pottery as art and archaeology and the role of touch and how we view pottery as artists, archaeologists and as viewers in the gallery or museum. To make pottery, the potter needs to touch and shape clay by hand. The potter uses fire to set those shapes and decoration for all time. People who use pottery touch the object in different ways depending on its purpose. The archaeologists who recover pottery from their sites, touch pottery to recover, conserve and interpret finds. The pottery on display in museums or art galleries moves against the very nature of pottery as storage vessels, serving dishes or cooking vessels and usually cannot be touched.

This article takes an interdisciplinary approach in order to show the artistic importance of the friendship between Ezra Pound and Constantin Brancusi. It refers to key moments in Pound’s late cantos that evidence his development of a specifically sculptural aesthetic technique. With reference to Pound’s critical writings on the visual arts as well as to his allusions to sculpture and the process of direct carving throughout The Cantos, Pound’s and Brancusi’s work is seen as exemplary of experiments in poetic and sculptural form during the first half of the twentieth century. More specifically, Pound’s invocation of ‘no slither’ and his reference to Brancusi’s Bird in Space (1924, etc.) in Canto CXVII are read as being connected to his struggle to ‘make it cohere’. While Harriet Zinnes and Rebecca Beasley have both analysed Pound’s work in relation to the visual arts, this article sees his interest in the work of Brancusi as something that not only influences the shape of his late cantos, but also is intrinsic to his fraught creative process and sculptural aesthetic.

Lucrarea de disertație își propune să înțeleagă contribuția lui Brâncuși la definirea artei moderne, prin căutarea semnificației lucrărilor sale și a modernității lor inovatoare. Ca orice mare artist care a marcat o epocă și care a influențat și continuă să influențeze artiști din lumea întreagă, cercetarea operei sale este de actualitate. Dacă înainte de secolul XX, arta fusese un mijloc de transmitere a unui mesaj cunoscut, ca cel religios, literar, istoric sau narativ, arta modernă și-a căutat propria definiție și a luptat pentru libertate de gândire si expresie, evoluând intr-o varietate de stiluri diferite din punct de vedere teoretic și ca soluții estetice. Efervescența creatoare, generatoare de evoluție care se opunea academismului este considerată motorul vieții autentice, de către Henri Bergson, filozoful care a influențat gândirea artiștilor la început de secol XX, un capitol din lucrare fiind dedicat prezentarii ideilor sale filozofice. La Paris, în laboratorul de creație al avangardei artistice, românul Constantin Brâncuși își va defini noua sa concepție artistică, modernă, căutând la izvoarele sculpturii din culturile tradiționale străvechi, înțelegând căutările artiștilor din avangardă, contemporani cu el și studiind filozofia lui Socrate, Platon, Henri Bergson, Milarepa.
Lucrarea cercetează in special influența filozofiei bergsoniene asupra concepției artistice moderne a lui Brâncuși prin analiza lucrărilor din seria necuvântătoarelor. In teoria bergsonienă, inteligenţa înseamnă cunoaşterea unei forme care caută unificarea în diversitatea fenomenelor, iar instinctul, care ia forma vieții, este simpatie și implică cunoașterea materiei, experiența subiectivă a timpului putând fi cel mai bine înțeleasă prin intuiție creativă, nu prin intelect. Brâncuși se apropie cu înțelegere și dragoste de animale, plasându-se în intuiția vieții, sugerată de instinctul animalului și de materia aleasă și ajunge prin efort creator la concept, la idee, sculptând o formă care pleacă de la figurativ și ajunge la limita abstractului. Relația dintre figurativul animalului si abstractul ideii se realizează printr-un limbaj sculptural simplificat și sintetic în același timp, rezultând o creație care este deschisă interpretării, care trăiește și se înoiește în comunicarea pe care o creează cu privitorul, cu spațiul și lumina înconjurătoare. Soclul devine parte din lucrare, ca expresie a vieții in diferitele ei ipostaze, iar impulsul vital bergsonian este sugerat de mișcarea reprezentată fie de unduirea pestelui pe orizontală, de ridicarea focilor sau de impulsul de zbor al păsărilor. Crearea de forme noi, asocierea de materiale si forme diferite intre părțile componente ale lucrării care interacționează intre ele, creind vitalitate și realizând o sinteză din lumea naturii și cea a inteligenței umane, sunt elemente care arată influența filozofiei bergsoniene.
In concepția lui Bergson, unitatea dintre materie și idee este insăși spiritul care se regăsește în toate lucrurile. Brâncuși a realizat serii de lucrări pentru fiecare temă precum viața evoluează creator, în efortul de unire a materiei cu ideea, de spiritualizare a lucrărilor sale, pentru a reprezenta dezideratul unei umanități complete și perfecte.

In the wake of the recent surge of interest in the relation between sculpture and photography, the article revisits the photography’s capacity to convey the haptic qualities of sculpted matter. Starting from the logic of supplementarity, whereby a photograph reveals something that we do not notice while meeting the sculpture itself, the article focuses on the photographic detail and its inherent tactility as the materiality’s own surprising touch. At the same time, a close attention is paid to the role of scale in the photography of sculpture and to the connection between the impact of the detail and the play of scale, which makes us aware of the uncertain borderline between image and mental image. Different from measurable size, scale enters our perception of the photographed sculpture as something irreducible to the detail understood as the matter’s signature. While being a more abstract agent than the more directly tactile detail, scale has its own mode of addressing the viewer by making her suddenly aware of her own situation. The more personal nature of this address makes it possible to connect the scale, rather than the detail in its more usual iconographic sense, to Roland Barthes’ notion of the punctum as, first and foremost, a mental event. However, as the article makes clear, this event, whereby a detail expands mentally and independently on any measurable size, cannot occur without the underlying relief-like or tactile qualities of the photographs themselves. To support this interpretation of the productive tension between the detail and the scale, the article discusses a series of examples (starting with the early daguerreotypes) and appeals to a broad range of studies, from Herder through Aloïs Riegl and Ronald Barthes to the most recent debates.

In the fall of 1926, Constantin Brancusi's Bird In Space sculpture was seized by United States Customs as attempting to pass under the duty free category of art. Officials, not recognizing any representation of a bird, deemed the object a utilitarian "kitchen utensil" and thus subject to 40% ad valorum. Modern artists in New York were livid, and lined up to defend the artist at trial and change the longstanding definition of what constituted a work of art. Well over a decade after the contentious Armory Show introduced the American public to the European avant-garde, this trial can be used as a case study to identify the inconsistencies in the writings of contemporary proponents. These inconsistencies surely added to the confusion in subsequent years. This paper takes a broader look at the happenings surrounding the Armory Show to discover how the message of modernism was not properly disseminated amongst the American public. This began with Alfred Stieglitz and his well-informed group of followers who, shortly after the turn of the century, were constructing concise and enlightening exhibitions and articles for a small group of New York modern art patrons. The extravagance of the Armory Show left the public fuming, and Stieglitz's group no longer promoting in a niche market.

Ştiinţele exacte şi conservarea operelor de artă Conservarea obiectelor de artă -bunuri culturale, reprezentative pentru tipurile de activităţi şi pentru epocile cărora aparţin, este ştiinţa ce transmite arta ca manifestare umană superioară, pentru perioade cât mai îndelungate. Cele zece principii ale restaurării, din care importante de amintit sunt principiul minimei intervenţii şi cel al folosirii de materiale şi metode compatibile cu cele originale, au la baza legi şi realităţi ştiinţifice, cumulate şi experimentate de generaţii de restauratori.

Brancusi – Modernitate si Avangarda Modernitatea si Avangarda in calitatea lor de fenomene culturale care privesc si lumea vizualului s-au manifest in primele 3 decenii ale vecului al xx-lea. Ele sunt fenomene contemporane dar totodata distincte, distinctia mergand pana la raporturi polemice si se manifesta intre cele 2 fenomene, asadar descoperim o tensiune care se exercita intre modernitate si avangarda. Alaturi de domeniul vizibilului, al artelor plastice, modernitatea se intereseaza si de aspecte ale creatiei cum ar fi: literatura, muzica, coregrafia, arta cinematografiei. Acestea vin in contact cu fenomenele vizuale si le si determina. Altfel spus, literatura isi transmite energia catre cinema si fotografie determinand activitatea plasticianului.

Daily scientific news reports comment on the declining health of our planet. The major contributing factors may be listed as: overpopulation, pollution, resource over-exploitation, and the destruction of the ecosystems; all these factors are related to human activity or the abuse of the natural resources. In my paper, Body as Matter, Body as Flesh I propose an ontological and phenomenological evaluation of the human agency in the world. The subject of my paper is bread, substance that symbolically and objectively entertains human life, and offers a cultural temporal revolve between past, present and the future. The making, baking and breaking of bread carry a multitude of meanings that I associate with art making. Past and contemporary artists have explored the potential granted by the staff of life , and some of them are mentioned in this paper. I address the philosophical, cultural and spiritual characteristics that drive my creative process, but I question the abuses and peculiarities generated by the contemporary market forces. I believe that through association, humanity amplifies its vocation to resonate harmoniously with the entire world.

Spesso citata nella bibliografia sul minimalismo, la tesi di laurea di Robert Morris (Form-Classes in the Work of Constantin Brancusi. A Thesis, New York City, Hunter College, 1966) non è mai stata oggetto di uno studio monografico. Si tratta di un'analisi dettagliata dell'opera di Brancusi condotta sulla base di categorie kubleriane quali gli « oggetti primi » e le « sequenze formali ». La forma del tempo di Kubler, presentato a Yale nel novembre del 1960, viene pubblicato nel 1962 ; un anno dopo, iniziano a tenersi le prime mostre minimal presso la Green Gallery di New York. Morris, che avrebbe citato Kubler anche nelle sue Notes on Sculpture, non era d'altronde l'unico artista a fare riferimento all'autore de La forma del tempo in quegli anni.

The essay concentrates on the trial over Brancusi’s sculpture Bird in Space. In 1927, the New York customs labeled the bronze artwork as kitchen utensil, taxing it 40%. Depositions and sentence are interesting from a semiotic point of view. They bear on the following questions: What is art? What is the juridical definition of art at the beginning of the 20th century? Is the system of avant-garde art in contrast with the legal system? To what extent is the mimetic paradigm adequate in order to define art? Does the title have to reflect some of the figurative characters of the sculpture? What is the relationship between language and art?

Kubler: note per un bilancio 1.1. Il saggio Pubblicato nel 1962 e presto assurto a successo editoriale internazionale, il saggio di George Kubler »The Shape of Time« 3 si presenta come un breve ma denso intervento in cui l'autore, fino a quel momento noto come archeologo e storico dell'arte e dell'architettura mesoamericana, si propone di rinnovare la metodologia storico-artistica, in quegli anni generalmente accusata di non aver tenuto testa allo sviluppo delle altre discipline e di essersi arroccata su posizioni non più difendibili. Kubler pensa in modo particolare alle opposte polarità di formalismo e iconologia, rispetto alle quali egli professa eguale distacco, anche se nel corso della trattazione traspare con evidenza non solo il suo legame con Henri Focillon, 4 di cui era stato allievo a Yale, ma anche la maggiore importanza che egli attribuisce al problema morfologico, rispetto all'iconografia e all'iconologia, ai fini di una rifondazione della storia dell'arte in termini di cultura materiale.

La réplique à l'épreuve de sa fiction juridique (Brancusi/Baquié) 3. Elaine Sturtevant, Sturtevant The Razzle dazzle of thinking, Paris, ARC/MAM Paris/Paris musée, 2010, p. 152. 4. Corinne Morini, extrait des conclusions à une consultation à ma demande sur le statut de la réplique, non publié, rendues le 1 er octobre 2005. 5. Il ne s'agit là que du droit patrimonial. Le droit moral est quant à lui perpétuel.

This catalogue is published to accompany the exhibition of the same name in Museum Boijmans Van Beuningen, Rotterdam (8 February–11 May 2014). The exhibition is a unique meeting of the work of three of the most influential artists of the twentieth century: Constantin Brancusi (1876-1957), Medardo Rosso (1858-1928) and Man Ray (1890-1976). The works exhibited and discussed in the catalogue, forty-five sculptures and some hundred photographs they took of them, offer a glimpse over the shoulders of these artists.
Not only were Brancusi, Rosso and Man Ray all crucial in the development of modern sculpture, they were innovators in the way they involved photography in their work—not so much for recording it, but as a means of explaining how viewers should look at and interpret their sculptures. They played with the possibilities of the medium–experimental for the time—using overexposure, innovative camera angles and blurring the foreground or background.
The catalogue contains descriptions of all the exhibited works and essays on the three artists by the curators of the exhibition. The lavishly illustrated catalogue also features thematic essays by the specialists Roxana Marcoci, Senior Curator of Photography at the Museum of Modern Art in New York, and Nina Schallenberg, Collection Curator at the Wilhelm Hack Museum in Ludwigshafen.

A study of the religious anthropology of the Romanian peasant at the turn of the century,
exemplified in Brancusi's work, reveals a religious syncretism, in fact a popular Orthodoxy,
which comes from dogmatic Orthodoxy and popular religious ritualism. An analysis of
Brancusi's memorial for the World War I dead from Tirgu-Jiu, Romania, would exhibit two
kinds of religious messages, which can be used also for a biographical deciphering of
Brancusi: in dogmatic Orthodoxy and in popular Orthodoxy. The latter is structured on an  ...

Guillaume millet miGuel ánGel molina miquel mont GeorGes rousse olivier soulerin heiDi WooD zevs les autres la peinture et ses imaGes un projet De miGuel ánGel molina les autres la peinture et ses imaGes un projet De miGuel ánGel molina 6 7 SommairE / Sumario

La relazione tra fotografia e scultura è al centro di questo libro, con particolare attenzione a foto realizzate da Medardo Rosso, Costantin Brancusi, Man Ray.
Inquadrare la scultura non è operazione ingenua, ma pone una serie di interrogativi di ordine estetico e semiotico. Ad esempio, quali ricadute ha, per la teoria della rappresentazione, la trasposizione della scultura sul formato bidimensionale dell’immagine? Come la lente del fotografo “media” l’accesso alle sculture? Quali “istruzioni” di lettura sono offerte al soggetto osservatore? Ma ancora, il portato di riproducibilità, che accomuna fotografia e scultura, come è qualificato dalle immagini in questione? Quale riflessione si apre, a inizio XX secolo, concernente lo statuto dell’immagine fotografica mediata dalla rappresentazione della scultura? Il libro prova a rispondere a tali questioni attraverso uno sguardo ravvicinato alle opere, attingendo al contempo alle teorie estetiche e alle formazioni discorsive che hanno segnato l’habitus culturale dell’epoca.

This essay aims to show how the Greimassian meaning of aspectuality could be a very useful concept in order to analyse some artistic works. Particularly, we will analyse some Brancusi’s works in which the translation between sculpture, photographs and films is the core of the artistic process. This study therefore focuses on the constraints of the expression plane when the artwork is the outcome of the translation between different media.
The point of view chosen by Brancusi when he takes a picture of one of his sculpture can be very important in order to create a new sculpture. How does the so called “observer actant” can contribute to produce a new image, from photography to sculpture or vice versa?
When Brancusi films his sculptures the issues are different, and we have to investigate how the image’s movement is expressed.
The general idea of this essay is that the translation process between different texts activates a narrative transformation in which the temporal and spatial aspectuality is relevant. Thus, we will try to show how the aspectuality can play an important role in order to analyse these complex texts

Si la sculpture et le cinéma n’ont a priori que peu en commun, les champs élargis de la sculpture et du cinéma ainsi que le décloisonnement des pratiques artistiques caractéristiques de l’art du XXe siècle à nos jours nous permettent d’envisager ce qui les lie. La symbolique des corps et leur disposition dans l'espace, l’importance de la lumière et le mouvement sont au coeur de ce dialogue, placé sous le prisme des techniques, d’une histoire et d’une esthétique du cinéma et de la sculpture. Que les sculptures s’animent ou que les corps se figent, du mythe de Galatée au « complexe de la momie » (André Bazin, « Ontologie de l’image photographique » dans Qu’est-ce que le cinéma, Éditions du Cerf, Paris, 1976), les modifications du médium sculpture au cours du XXe siècle seront interrogées depuis l’incursion du mouvement dans l’art et les prémices du cinéma. De même, sera questionnée la manière dont la sculpture, animée ou pétrifiée dans les films, participe à la création et à la compréhension des récits cinématographiques, esthétiques et parfois politiques.

Man can never expect to start from scratch; he must start from ready-made things like even his own mother and father. -Marcel Duchamp I always wanted to find a way to make sculpture. . . . What I wanted was to be able to make a sculpture. -Sherrie Levine 9 Carissa Rodriguez: The Maid MOTHER, FATHER, SISTER, BROTHER, GIRL, BOY, LIVING ROOM, DINING ROOM, KITCHEN, DEN, BATHROOM, BEDROOM. In one of her earliest works, The Book, 1977, Sherrie Levine inscribes these words in boldface serif type on individual sheets of cardstock. The white space surrounding each term leaves room for the specificity it accrues in the mind of the reader: every abstraction conjures an image. Though the pages together comprise a single work, the fact that they are unbound opens the possibility of their separation, circulation, and reconfiguration into arrangements other than the nuclear and bourgeois. By shifting the emphasis from production to reproduction, Levine's work imagines alternate kinship structures for modernism.

The essay deals with relationships between photography and sculpture with particular regards to some aesthetic and semiotic issues involved in the photography of sculpture. In the first part of the paper an historical overview about different ways to reproduce a sculpture – engraving, plaster copy, photography – is proposed. The photography of sculpture can be understood as a translation of the artwork, and it poses a series of unsolved issues. For example, how can a three-dimensional object be rendered in two dimensions without falsify the original sculpture? Which are the differences between a photography that records an oeuvre and one made by a sculptor to his artworks? The paper concentrates on some photos made by Brancusi to his sculptures. Are these photos an artist's comment to his oeuvre? How do they affect his sculptural creation? Brancusi's photos suggest investigating the idea of authenticity of each sculpture in relation to the reproducibility of the new optical medium. Moreover, Brancusi elaborates, by his photos, a thought about the meaning of the art and on doing art.

In-depth chronological analysis of the correspondence between the British art critic Adrian Stokes and the American poet Ezra Pound and how it illuminates each others' work, especially in the 1930s. See also Art and its Discontents: the Early Life of Adrian Stokes (London: Ashgate, 2002; PA: Penn State U. Press, 2003).

This review of Hollywood Arensberg will appeal to those interested in the history of collecting, and domestic display of modern art. Incorporating pre-existing literature on Walter and Louise Arensberg, the review discusses their close relationship with Marcel Duchamp, their illegal acquisition of pre-Columbian art, their determination to prove Sir. Francis Bacon authored the work of William Shakespeare, and their collecting and display preferences. While Hollywood Arensberg sets the bar high for other researchers in the history of collecting, this review notes that further research is needed on the role Louise Arensberg played in forming this rare avant-garde collection.

Since the value analysis should address the truth or true aspects of the object analyzed, I believe that is not enough to use only a research method while focusing on a work of art. So passing a visual object through several types of analysis is in my opinion one of the most promising initiatives in the discovery of a work of art.

CORRUZIONE Appalti G8, prima condanna per la cricca INTERVISTA |PAGINA 3 Chiara Saraceno: «La riforma Fornero del mercato del lavoro non tutela i giovani» ROBERTO CICCARELLI STAMPA LIBERA Tenga il resto, buon uomo OPERAI ALL'INGRESSO DELLA FIAT DI POMIGLIANO D'ARCO/FOTO LUIGI FEDULLO-TAM TAM «La bella linea» del manifesto, visionario ed estremista nel suo farsi un giorno dopo l'altro: bisogna interrogarsi sul senso della sua missione, scrivono gli ex direttori Mariuccia Ciotta e Gabriele Polo. E l'idea di fare come le fabbriche autorecuperate argentine: che i lavoratori (e i sostenitori) se ne riapproprino per andare avanti, propone Tonino Perna.

Margarete Haeffner-Moll (1884–1977), znana również jako Marg Moll, należy do niemieckich artystek, które są obecnie znane jedynie wąskiemu gronu specjalistów. Niemniej jednak, jej prace ujawniają wyjątkowy talent. W latach 1903–1932, Moll była związana ze środowiskami artystycznymi: Berlina, Paryża i Wrocławia. W 1903 roku rozpoczęła karierę artystyczną jako malarka, jednak już wkrótce poszerzyła środki twórzej ekspresji eksperymentując z różnorodnymi technikami, formami i materiałami, ostatecznie około 1906 roku koncentując się na rzeźbie. Od 1924 roku abstrakcja stała się istotnym punktem odniesienia dla jej rzeźb figuratywnych. Artykuł stara się prześledzić inspiracje Marg Moll sztuką awangardy zdobyte podczas podróży do Paryża oraz kontaktów z artystami obecnymi w Republice Weimarskiej, które miały kluczowe znaczenie dla ustalenia jej renomy pośród niemieckich twórców modernistycznych i późniejszej klasyfikacji jej sztuki jako "zdegenerowanej" pod koniec lat 30. XX wieku. Śledząc te zależności, tekst dąży przebadania następującyh kwestii: jakie idee i historyczne procesy ukształtowały jej sztukę? Dlaczego zdecydowała się nie przyłączyć do żadnego systemu teoretycznego? Jakie artystyczne dziedzictwo pozostawiła po sobie?

Summary:

Margarete Haeffner-Moll (1884–1977), known also as Marg Moll, belongs to the German women artists who has been largely overlooked in art history. Her works, however, reveal the artist's unique talent. Between 1903 and 1932, Moll was closely associated with the art societies of Berlin, Paris, and Breslau. She began her artistic career in 1903 as a painter, but soon diversified means of her artistic expression by experimenting with various techniques, forms, and materials, transitioning to sculpture around 1906. From 1924 onwards, abstraction became an important point of reference for her figurative works. The article seeks to trace Moll's avant-garde inspirations gathered during trips to Paris and intersections with artists in Weimar Republic, which played a crucial role in shaping her position among German modernists, eventually leading to classification of her art as a "degenerate" in the late 1930s. By tracking these dependencies, it aims to explore the following questions: what ideas and historical processes shaped her thoughts and art? Why did she choose not to align herself with any aesthetic theoretical systems? What is her lasting legacy in the the world of art?

Από τα μέσα του 19ου αιώνα η εικόνα του κόσμου που ίσχυε έως τότε είχε αρχίσει σταδιακά να αλλάζει στα επιμέρους της σημεία. Αν χαρακτηρίζει κάτι την νέα εποχή που άρχισε να διαφαίνεται από τα μέσα περίπου του 19ου αιώνα και έπειτα, αυτό είναι η πολυμορφία και η πολλαπλότητα της. Αυτή ακριβώς η πολυμορφία, καθώς και η αυτονομία των αντιφατικών ιδεών που έκαναν την εμφάνισή τους πυροδότησαν την τέχνη του 20ου αιώνα. Η παγιωμένη εμπειρική και επιστημονική μέθοδος δημιουργίας της εικαστικής εικόνας αμφισβητείται από τη νέα θέαση του κόσμου, των πραγμάτων και των προβλημάτων του 1 .